【正文】 on Crossculture Translation of Some Poems, Ci, Songs, Fu and Allusions in Two English Versions of Hong Lou Meng”(Yang, 2004) Liu Yumei from Sichuan University adopted Xu Yuanchong’s “Three Beauties” in her dissertation “On Yang Xianyi and Gladys Yang’s Translation of Poems in Hong Lou Meng (Revised)”(Liu,2004). Besides, various articles were written to research into the translation of poetry in HLM. Such as: “the Translation of Some Code Words in the Poems of Hong Lou Meng”(1994), “The Seven English Versions of Haoliaoge” (1996) ,“An analysis of Several Poems in the English Version of Hong Lou Meng by Yang Xianyi and Gladys Yang”(1998), “The Translation of the Cultural Contents of Poems in Hongloumeng” (2004), “The Comparative Study of the Haoliaoge Zhu” (2004), “On Foreignization and Domestication from the Poem Translation of Hong Lou Meng” (2004) etc.These books and articles are very helpful for the researchers and translators to deepen their studies in the poetry translation in HLM and improve their translation technique. A Brief Introduction to Two English Versions of HLMAs a cultural book of Chinese people, Hong Lou Meng has aroused increasing interest among the foreigners. So far there have been only two plete versions of it. One is A Dream of Red Mansions translated by Yang Xianyi and his wife Gladys Yang, the other is The Story of the Stone by David Hawkes and his soninlaw John Minford. When the two versions appeared one after the other during 1970s, the translation field was shaken. They are successful and spoken highly of by the translation scholars and the press both at home and abroad. The publication of the two plete versions is a milestone on the way of Chinese cultural exportation and leads Redology to a new horizon. Professor Zhou Jueliang made his ment on the two versions as follows:Despite different styles presented in these two versions, both of them achieved the goals set by their translators. The version by David Hawkes is famous for its elegance, while Yang Xianyi and Gladys Yang’s is remarkable for accuracy…If reading them together, those who are unable to read the original will acquire the real and plete picture about this novel as they do read(Zhou1994:350).The two versions are plementary to each other. These two versions vary greatly in their styles. For Yang, who has been under the great influence of Hong Lou Meng in his native culture, it’s not easy for him to shake off this influence. Gladys Yang expressed her pity “we enjoyed little freedom in our translation” (Henderson et :PP36). But Hawkes obviously enjoyed more freedom in his translation, because in his culture, only the Bible and works of Homer and Shakespeare and a few others can be included into “classical works” and Hong Lou Meng, as a Chinese novel, is certainly excluded out of its mainstream literature. Though since the 18th century, many western people have already discovered the charm of ancient Chinese classical works, these works are still refused outside the mainstream. Therefore, Hawkes shares much more freedom in his translation. (魏芳,2004:107―121) The Story of the Stone by David HawkesIt was until the 1970s that the plete English version of HLM appeared. The Story of the Stone by the British Sinologist David Hawkes marks the start of the book’s plete translation period in the west. The whole version consists of five volumes and Hawkes’ soninlaw John Minford finished the later two volumes under the guidance of Hawkes. Penguin Books Ltd. of England published its first 26 chapters in 1973 and it was not until 1986 that its publication was finally pleted.Hawkes makes a profound research into the original book and masters the paratively updated information about the book’s background. He admits that “I have relied heavily on the published researches of Chinese scholars like Yu Pingbo（俞平伯）, Zhou Ruchang（周汝昌）,Wu Shichang（吳世昌） and Zhao Gang（趙剛）—particularly the last, whose theories on a number of controversial issues seem to me the most convincing.”(Introduction,17).He points out in his Introduction that “the psychological insight and sophisticated humor with which it is written can often delude a reader into judging it as if it were a modern novel…h(huán)is numerous rewriting and the various mythopoeic ‘devices’ with which his novel is littered all testify to his struggle to find some sort of framework on which to arrange his inchoate material”. From this statement we can see Mr. Hawks’ keen insight of the artistic essence of the original book. He also tells that “My one abiding principle has been to translate everything—even puns. For although this is, in the sense I have already indicated, an ‘unfinished’ novel, it was written (and rewritten) by a great artist with his very life blood. I have therefore assumed that whatever I find in it is there for a purpose and must be dealt with somehow or other. I cannot pretend always to have done so successfully, but if I can convey to the reader even a fraction of the pleasure this Chinese novel has given me, I shall not have lived in vain.”(Introduction, 46). The educational Supplement to Times Newspaper regards Hawkes’ version as “one of the best translated works of English” and the magazine Making Friends holds that it is the milestone in rendering the Chinese literature works into English. The Yangs’ A Dream of Red MansionsIn 1978 and 1979, the Foreign Language Press of China (Beijing) published the translation A Dream of Red Mansions—the plete English version in three volumes by the famous Chinese scholar Yang Xianyi (1915 ) and his wife Gladys Yang (19191999). This translation has been regarded as the most faithful one so far and is popular in China as well as accepted in Englishspeaking countries. Yang and his wife have devoted almost all their lives to the translating of the Chinese classics and have made great contributions to the cultural exchanges between China and the rest of the world. They take intro